Level    11  –  p.  1  

LEVEL 11  Complete  Requirements  

Technique

Students  should  know  all  elements  in  the  keys  listed.    The  evaluator  will  select  one  or  more  keys  from  each  category  to  hear  at  the  evaluation.  

 

 Scales      

 All  major  and    minor  keys  (harmonic  and  melodic  forms)  

 

Hands  together    4  octaves.  

 

   

 

   

q  =    126  

 Scales  in  3rds,  6ths  and  10ths  

 G  major,  E  harmonic  minor  

 

Hands  together    4  octaves.  

 

 

 

q  =    108  

 Octave  Scales  

 Db  major,  C#  harmonic  minor  

 Hands  together  2  octaves.  

 

 

 

q  =  126  

 Four-­‐Note  Chord  Inversions:  Tonic,  Dominant  Seventh,and  Diminished  Seventh    

 

All  major  and  

minor  keys  

   Hands  together.  Root  position  and  inversions.  Blocked,  then  broken.    

 

q  

 

   

q  =    120  

 Tonic,  Dominant  Seventh    (V7)  Arpeggios  

   All  major  keys    

 

Hands  together    4  octaves.  

     

   

q  =  96  

 Tonic,  Diminished  Seventh  (viio7)  Arpeggios  

 All  minor  keys  (begin  on  the  leading  tone  of  the  scale)  

 

Hands  together    4  octaves.  

     

   

   

q  =  96  

Sight Reading

Sight  read  a  short  musical  example,  equal  in  difficulty  to  a  Level  9  piece.  

  Level    11  –  p.  2  

Terms and Signs

Accented  passing  tone       Conjunct/disjunct  intervals  Agogic  accent           Lead  sheet  notation  Antecedent/consequent  phrases     Perfect  authentic  cadence  Cambiata/échappée         Picardy  third  Chromatic/diatonic         Simple/compound  meter  Cembalo           Terraced  dynamics  Clavier  (Klavier)         Tuplet/duplet          Music Literacy

The  student  is  responsible  for  all  terms,  signs,  and  concepts  from  previous  levels.  

1. Write  or  identify  9th,  11th,  or  13th  chords  2. Lead  sheet  notation:  write  the  notes  of  given  chord  symbols  3. Analyze  a  complete  movement  of  a  Classical  sonata  written  in  Sonata  Allegro  form.  

• Locate  the  main  sections  (Exposition,  Development  Recapitulation)    • Locate  first  and  second  theme  groups  • Identify  modulations  and  important  cadences    • Analyze  the  harmony  of  specified  passages    

4. Locate  non-­‐harmonic  tones  in  a  given  musical  example:      

• passing  tones  (including  accented  passing  tones)    • upper  and  lower  neighboring  tones    • suspensions  • anticipations  • appoggiaturas  • cambiatas  and  echapees.  

5. Match  terms  and  signs  to  their  definitions.  6. Identify  the  style  period  of  musical  excerpts.  7. Score  analysis:  Questions  will  involve  concepts  from  this  and  earlier  levels.  

Aural Training/Listening Skills

1. Identify  broken  intervals  below  a  given  note.  2. Identify  five  qualities  of  seventh  chords:      

                             Major  7th,  Dominant  7th,  Minor  7th,  Half-­‐diminished  7th,  Fully  diminished  7th.  3. Scale  identification:                    Major,  Natural  minor,  Harmonic  minor,  Melodic  minor,  Whole  tone,  Pentatonic,                      Chromatic,  Dorian  mode,  Phrygian  mode,    Lydian  mode,  Mixolydian  mode  4. Dictation:  Write  both  lines  of  a  2-­‐part  example.  

  Level    11  –  p.  3  

Repertoire

Four  pieces:  one  from  the  Baroque  Period,  one  from  the  Classical  Period,  one  from  the  Romantic  Period    and  one  from  the  20th/21st  Centuries.      

All  pieces  must  be  chosen  from  the  following  lists,  and  all  must  be  memorized.    No  substitutions  will  be  accepted.  

Written Program Notes

The  student  will  write  an  essay  containing  historical  and  analytical  material  for  each  of  the  pieces  to  be  performed.  This  essay  must  be  submitted  to  the  local  Student  Evaluations  Chair  two  months  in  advance  of  the  Evaluation  for  approval.  

 

Level  11  Repertoire  Listings  

 

BAROQUE  

Bach,  J.S.    

English  Suite  no.  1  in  A  major,  BWV  806         Prelude,  Sarabande  and  Gigue  

    English  Suite  no.  2  in  A  minor,  BWV  807         Prelude  or  Sarabande  and  Gigue  

    English  Suite  no.  3  in  G  minor,  BWV808         Prelude  or  Sarabande  and  Gigue  

    English  Suite  no.  5  in  E  minor,  BWV  810         Prelude  or  Sarabande  and  Gigue  

    English  Suite  no.  6  in  D  minor,  BWV  811         Prelude  or  Allemande  and  Courante  

    Partita  no.1  in  Bb  major,  BWV  825  Preludium,  Sarabande,  and  Gigue  

    Partita  no.2  in  C  minor,  BWV  826         Sinfonia  or  any  two  contrasting  mvts  

    Partita  no.4  in  D  major,  BWV  828    Overture  or  any  two  contrasting  mvts  

    Partita  no.5  in  G  major,  BWV  829         Preludium,  Sarabande  and  Gigue  

  Level    11  –  p.  4  

CLASSICAL  Beethoven,  Ludwig  van  

    Sonata  in  F  Minor,  Op.  2.  No.  1,  4th  mvt.       Sonata  in  C  Minor.  Op.  10,  No.  1,  1st  mvt.       Sonata  in  D  Major,  Op.  10,  No.  3,  1st  mvt.       Sonata  in  Eb  Major,  Op.  27,  No.  1,  1st  mvt       Sonata  in  D  Major,  Op.  28,  1st.  mvt.       Sonata  in  E  Minor,  Op.  90,  1st  mvt.  

Haydn,  Joseph  

Sonata  in  A  Major,  HVI:  30,  1st  mvt.  Sonata  in  C#  Minor,  HVI:  36,  1st  mvt.  Sonata  in  G  Minor,  HVI:  44,  1st  mvt.  Sonata  in  Eb  Major,  HVI:  45,  1st  mvt.  Sonata  in  D  Major,  HVI:  51,  1st  mvt  

 Mozart,  Wolfgang  Amadeus  

    Sonata  in  C  Major,  K.  279,  1st  mvt.  Sonata  in  F  Major,  K.  280,  1st  mvt.  Sonata  in  Bb  Major,  K.  281,  1st  mvt.  Sonata  in  Eb  Major,  K.  282,  1st  mvt.  Sonata  in  C  Major,  K.  309,  1st  mvt.  Sonata  in  BbMajor,  K.  570,  1st  mvt.  

 

ROMANTIC  Brahms,  Johannes    

Ballade,  Op.  10,  No  1  Rhapsody,  Op.  79,  No  1  Rhapsody,  Op.  79,  No.  2  Intermezzo,  Op.  118  No.  2  Intermezzo,  Op.  118  No.  5  

 Chopin,  Frederic  

Impromptu,  Op.  29  Mazurka  in  B  Major,  Op.  63,  No.  1  Nocturne  in  C#  Minor,  Op.  27  No.  1  Nocturne  in  Db  Major,  Op.  27  No.  2  Nocturne  in  F  Major,  Op.  55  No.  1  Nocturne  in  B  Major,  Op.  62,  No  1  Polonaise  in  C#  Minor,  Op  26  No.  1  Polonaise  in  A  Major,  Op.  40,  No.  1  Waltz  in  E  Minor,  Op.  Posth  

  Level    11  –  p.  5  

 

Liszt  Ferenc  

Etudes:  Un  Sospiro  Paganini  Etudes:    No,  5  La  Chasse  3  Liebestraume:  any  one    Valse  Oubliee  #1  

 Mendelssohn,  Felix  

Songs  Without  Words         Op.  19,  No.  3  

Op.  19,  No.  5  Op.  30,  No.  4  Op.  53,  No.  1  Op.  53,  No.  3  

 Schubert,  Franz  

Impromptu,  Op.  90,  No.  2  Impromptu,  Op.  90,  No.  3  Impromptu,  Op.  90,  No.  4  Impromptu,  Op.  142,  No.  3  Impromptu,  Op.  142,  No.  4  Moments  Musicaux.  Op.  94,  No.  4  or  No.  6  

 Schumann,  Robert  

Arabesque,  Op.  18  Fantasy  Pieces  Op.  12:    No.  2  Aufschwung  (Soaring)  Faschingsschwank  aus  Wien,  Op.  26:  No.  4  Intermezzo  Novelletten,  Op.  21  

      Any  one  of  Nos.  1,  4,  or  7  

 20/21ST  CENTURIES  

Barber,  Samuel  

    Ballad,  Op’  46       Nocturne,  Op.  33  Bartok,  Bela  

14  Bagatelles,  Op.  6:  No.  14  Mikrokosmos,  Vol  VI  

      No.  142  From  the  Diary  of  a  Fly         No.  146  Ostinato         No.  153  Bulgarian  Dance,  No.  6  

15  Hungarian  Peasant  Songs  :  Nos.  1  –  6  (play  all)      

  Level    11  –  p.  6  

 

Copland,  Aaron  

    The  Cat  and  the  Mouse  

 Debussy,  Claude  

Pour  le  piano    Sarabande  

Preludes:  I  La  Cathedrale  engloutie  Minstrels  

Suite  Bergamasque         Prelude  

Clair  de  lune  Passepied  

 Prokofiev,  Sergei  

Ten  Pieces,  Op.  12         No.  6  Legende         No.  7  Prelude  (Harp)       Visions  Fugitives,  Op.  22         No.  7,  9,  12,  13,  14,  15,  18,  19,  20  (choose  any  two  contrasting)       Episodes,  Op.  12,  Nos.  1  and  7      

Rachmaninoff,  Sergei  

    Polichinelle,  Op.  3,  No.  4  

 Ravel,  Maurice  

Le  tombeau  de  Couperin         Prelude  

Forlane         Menuet         Rigaudon  

Miroirs:  Oiseaux  tristes  Pavane  pour  une  Infante  defunte  Sonatine:  1st  mvt.  

 Shostakovich,  Dmitri  

Three  Fantastic  Dances,  Op.  5        

  Level    11  –  p.  7  

Level 11 Music Literacy Sample Written Test

Lead Sheet Notation ____ (4 pts.) Write the chords from the chord symbols given.

                                     Fm/C                                                                G  dim  7                                                                  D6                                                            A7/E  

 

Musical Excerpts A ____ (2 pts.)

  1. Identify the style period represented by the excerpt: ___ Baroque ___ Classical ___Romantic ___ Impressionistic ___ Twentieth Century. 2. Identify the scale used by the composer. ___ major ___ minor ___ pentatonic ___whole tone

              B                      ____ (4 pts.)  

 1. Identify the style period represented by the excerpt: ___ Baroque ___ Classical ___Romantic ___ Impressionistic ___ Twentieth Century. 2. Identify the tonality used by the composer. ___ 12-tone row ___ whole tone ___ pentatonic ___ bitonality

3. Define the terms found in the excerpt.

sotto: ______________________________________________________________________

sopra: ______________________________________________________________________

  Level    11  –  p.  8  

C ____ (5 pts.)

____ ____ ____ 1. Identify the style period represented by the excerpt: ___ Baroque ___ Classical ___Romantic ___ Impressionistic ___ Twentieth Century.

2. Name the ornament found in measures 2 and 3. ________________________ 3. The meter is: ____ simple ____ compound 4. Using lead sheet notation, write the chord symbol for the harmony in each of the first three measures. Consider all of the notes.in the measure.

 

 

D ____ (5 pts.)

   

1. The musical example above was written by Brahms. Which historical period does it represent?

______________________________

2. Identify the boxed chords using lead sheet notation (C/G, Fm/A …). A _________ B _________ C _________

3. Identify the rhythmic device used by the composer in measure four. ______________________________

  Level    11  –  p.  9  

Matching ____ (12 pts.)

____ tuplet A. An emphasis by virtue of being longer in duration.

____ Picardy third B. Volume levels shift abruptly from soft to loud and back without gradual crescendos and decrescendos.  

____ lead sheet C. Another term for harpsichord.

____ agogic accent D. A note value, beat, or part of a beat can be divided into a number of irregular time values.

____ Cembalo E. A non-harmonic note reached by skip of (usually a third) and resolved by a step.

____ conjunct F. A non-harmonic note reached by step (usually up) from a chord tone, and resolved by leap.

____ disjunct G. refers to the use of a major chord of the tonic at the end of a musical section that is in a minor key.  

____ perfect authentic cadence H. Chord symbols indicated above a single line melody.

____ terraced dynamics I. Melody consisting primarily of stepwise motion (2nds).

____ accented passing tone J. Both chords must be in root position: the

top note in the tonic chord must be the tonic.

____ cambiata K. Melody consisting primarily of skips.  

____ echappée L. A passing tone occurring on a strong beat.

9th, 11th, and 13th Chords ____ (4 pts.)

These chords are in root position. Write the 9th, 11th, or 13th in the treble clef. No accidentals are needed.

 

                     11th 9th 13th 9th

  Level    11  –  p.  10  

Score Analysis ____ (20 pts.)

Answer the following questions about the musical example on the following pages.

The example is the third and last movement of a Sonata by Haydn.

1. The tempo of the second movement is likely to be: ______________

2. The example is written in Sonata Allegro form. Give inclusive measure numbers for the following sections.

Exposition, first theme: ____ to ____

Exposition, second theme: ____ to ____

Development: ____ to ____

Recapitulation, first theme: ____ to ____

Recapitulation, second theme: ____ to ____

3. Write the Roman numerals with figured bass for the harmonies in measures 44, 45, 48, 49, 52, 53 54 and 55. Use the lines provided on the score.

4. Identify the circled non-harmonic tones in the following measures:

53 __________________

89 __________________

95 (first beat) __________________

95 (second beat) __________________

5. The music was written during the _________________ [musical style] period.

6. The texture of the music is: ____ polyphonic ____ homophonic

  Level    11  –  p.  11  

  Level    11  –  p.  12  

  Level    11  –  p.  13  

Possible points: 56

Given points: _____

  Level    11  –  p.  14  

Level 11 Sample Test Answer Key

Lead Sheet Notation

                                     Fm/C G dim 7 D6 A7/E

 

Musical Excerpts

A 1. X Impressionistic 2. X whole tone

B  1. X Twentieth Century. 2. bitonality 3. sotto: under sopra: over

C  1. X Baroque 2. (short) trill 3. X compound 4. G D7 G7

D  1. Romantic

2. A: Ddim/F (Do/F) B: Edim/G (Eo/G) C: F/A

3. hemiola

Matching

D tuplet G Picardy third  H lead sheet A agogic accent C Cembalo I conjunct K disjunct  J perfect authentic cadence B terraced dynamics L accented passing tone E cambiata  F echappée

  Level    11  –  p.  15  

Intervals

aug4 M6 P5 m7

9th, 11th, and 13th Chords (note: the added noted may be in a different octave)

  11th 9th 13th 9th

 

Score Analysis

1. slow (accept equivalent).

2.

Exposition, first theme: 1 to 27

Exposition, second theme: 28 to 43

Development: 44 to 59

Recapitulation, first theme: 60 to 88

Recapitulation, second theme: 89 to 103 (accept 107)

3. (see score)

4. 53 cambiata

89 anticipation

95 (first beat) lower neighbor (ing) tone

95 (second beat) passing tone

5. Classical

6. X homophonic

  Level    11  –  p.  16